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Glee > We Are Young (fun. cover)
I can’t believe I’m posting something from Glee. So ashamed.
10 notes (95 plays), January 10, 2012
Blue Malayan Coral Snake | from Mark Laita’s series Serpentine | via colossal
16 notes, November 26, 2011
![Richard Avedon’s instructions to his printer for an image taken of coal miner Lyal Burr, at The Church of Jesus Christ of Latter-Day Saints, Koosharem, Utah, May 7, 1981.
Some notes from Laura Wilson’s book Avedon at Work. Wilson assisted Avedon for six years:
“The difficult and time-consuming process of making these prints began in the basement darkroom of the Avedon studio in New York. Ruedi and David [Liittscwager] started with a set of 16-by-20 inch prints. Dick rejected them all. He felt that the tone was heavy; they were too black and had too much contrast. In reprinting, Dick’s directions were rarely technical. He would say simply, “Make the person more gentle,” or “Give the face more tension” This unconventional advice forced Ruedi and David to try to Understand the emotional content that Dick sought in each portrait. […] On test prints, Ruedi recorded the necessary manipulations with a red grease pencil. The exposure times, plus or minus, were in seconds to indicate where to darken or lighten an eyelid, or a nose, ot the wrinkle on a forehead.”
» via mpdrolet](http://24.media.tumblr.com/tumblr_luscomoi4E1qe0lqqo1_500.jpg)
Richard Avedon’s instructions to his printer for an image taken of coal miner Lyal Burr, at The Church of Jesus Christ of Latter-Day Saints, Koosharem, Utah, May 7, 1981.
Some notes from Laura Wilson’s book Avedon at Work. Wilson assisted Avedon for six years:
“The difficult and time-consuming process of making these prints began in the basement darkroom of the Avedon studio in New York. Ruedi and David [Liittscwager] started with a set of 16-by-20 inch prints. Dick rejected them all. He felt that the tone was heavy; they were too black and had too much contrast. In reprinting, Dick’s directions were rarely technical. He would say simply, “Make the person more gentle,” or “Give the face more tension” This unconventional advice forced Ruedi and David to try to Understand the emotional content that Dick sought in each portrait. […] On test prints, Ruedi recorded the necessary manipulations with a red grease pencil. The exposure times, plus or minus, were in seconds to indicate where to darken or lighten an eyelid, or a nose, ot the wrinkle on a forehead.”
» via mpdrolet
joe skilton | via jesuisperdu
Finish each day and be done with it. You have done what you could; some blunders and absurdities have crept in; forget them as soon as you can. Tomorrow is a new day; you shall begin it serenely and with too high a spirit to be encumbered with your old nonsense.
— emerson
Reblogged from jesuisperdu, 2,067 notes, November 26, 2011
"Let me tell you a few things about regret… There is no end to it. You cannot find the beginning of the chain that brought us from there to here. Should you regret the whole chain, and the air in between, or each link separately as if you could uncouple them? Do you regret the beginning which ended so badly, or just the ending itself?"
Janet Fitch | via thoughtsdetainedReblogged from thoughtsdetained, 43 notes, November 26, 2011
Seen at Paris-Photo, German-born, China-based Michael Wolf’s Tokyo Compression series, taken on the city’s subway, is literally breathtaking. Faces of Tokyo commuters are pressed up against condensation-soaked windows, creating small pools of mist as they breathe in and out, struggling for air.
Reblogged from newniceandfun, 5,280 notes, November 25, 2011
anthologyz & serina:
a canopy of flowering trees. i wish i could look up & see this.
Reblogged from anthologyz, 43,694 notes, November 25, 2011
Reblogged from randomitus, 6,157 notes, November 25, 2011
Photographer Oleg Gordienko took this beautiful photo of a heavily forested stretch of train track in Ukraine known as “The Tunnel of Love.”
Reblogged from archiemcphee, 372 notes, November 25, 2011
Rita Moreno, George Chakiris, & Russ Tamblyn in West Side Story
photo by Ernst Haas for LIFE Magazine (1960)
Reblogged from oldhollywood, 3,437 notes, November 20, 2011
